Thursday, 26 May 2016

Charles Villiers Stanford: Piano Concerto No.2 in C minor –Review from New York

One of my Desert Island Discs
would be Charles Villiers Stanford’s Second Concerto, in G minor for pianoforte
and orchestra, op.126 (1911). I think (and many would no doubt disagree) that
this is the finest piano concerto written by a British composer. Yet, it is the
American connection that concerns this post. It was dedicated to Carl Stoeckel
[1] who, along with his wife, were patrons of the Norfolk Music Festival. This
attracted leading performers and major composers including Sibelius. The other
dedicatee was the composer’s friend Robert Finnie McEwen [2] of Ayrshire,
Scotland.

Stanford’s Concerto was played a
number of times in the United States before it was first heard in Britain at
Bournemouth under Dan Godfrey on 7 December 1916.

Jeremy Dibble notes that the
original intention was for Moritz Rosenthal (1862-1946) [3] to give the first
performance in the United States during 1913. This proved impossible.

The premiere of the Concerto was
given at the Musical Festival, Norfolk, Connecticut on 3 June 1915 under the
auspices of the Stoeckels. The soloist was Harold Bauer [4] and the orchestra
was conducted by Arthur Mees [5].

I found this contemporary review
of the premiere in The Sun (New York) newspaper.

‘The real business of this
evening was the hearing of two novelties. The concert began with Schubert’s
unfinished symphony, conducted excellently by Arthur Mees. Then came the new
piano concerto of Sir Charles Villiers Stanford, who was to have conducted it
himself. Arthur Mees was an admirable substitute, for the former aid of
Theodore Thomas had lost none of his cunning. The soloist was Harold Bauer,
who, let it be said at the outset, played the new composition in a masterly
manner, permitting not one flash of its brilliancy, one stroke of its incisive
rhythms, or one winsome nuance of its melodies to escape the searching magic of
his fingers.

The concerto itself, which is in
C minor, will probably escape enrolment in the first rank, but it is a
composition which may, and in all likelihood, will find its way into the repertories
of numerous concert pianists.

It has a brilliant first
movement, with broad clangourous thematic ideas, alternating with the necessary
contrasts of suave melody. But the prevailing character of the movement is
aggressive, virile, and above all things imbued with a fine confident temper, a
song of ebullient jubilation written with fervid energy and technical
virtuosity.

The slow movement has a touch of
the English countryside in its melody, though some of the treatment suggests a
respect for Dr. Brahms of Cambridge University. [6]

The last movement is openly Irish
and its color may lead to the christening of the composition as ‘the Irish piano
concerto, by the author of the Irish Symphony.’ It is a rollicking movement,
full of brilliant passage work for the piano, while it is interrupted for a
time by a song passage built on the theme of the second movement. The concerto as
a whole makes a pleasing impression. It has elements of popularity, which are not
inconsistent with musical value, while its unfailing tunefulness and the
skilful treatment of the orchestra give it a restful charm for the average
listener.

The Sun (New York) Sunday June 6 1915.

Charles Villiers Stanford’s Piano
Concerto in C minor can be heard on YouTube.

Notes:

[1] Carl Stoeckel (1858-1925) was
born in New Haven, Conn. In 1895 he married the heiress Ellen Battell Terry
(1859-1939). Together they became patron of music and the arts. They sponsored
glee clubs and choral societies. In 1899 they introduced the first of the
annual concert in their home. Seven years later the event was mover to their
‘music shed’ on their estate.

[2] Robert Finnie McEwen
(1861-1926) was born in Ayrshire. He practised as an advocate in Edinburgh. He
was an accomplished musician and supporter of the arts. He served on the Council of the Royal College
of Music (1906-1926).

[3] Moriz Rosenthal (1862-1946)
was a Polish pianist and composer. He was a student of Franz Liszt and came to
be a major interpreter of Chopin. His
friends and colleagues included Johannes Brahms, Johann Strauss, Anton
Rubinstein, Hans von Bülow, Camille Saint-Saëns, Jules Massenet and Isaac
Albéniz.

[4] Harold Victor Bauer (1873-1951) was an English-born pianist
who began his musical career as a violinist.

About Me

I am well over fifty years old: the end of the run of baby boomers! I was born in Glasgow, moving south to York in the late ‘seventies. I now work in London.
My main interest is British Music from the nineteenth century onwards.
I love the ‘arch-typical’ English countryside – and have always wanted to ‘Go West, Boy’.
A. E. Housman and the ‘Georgian’ poets are a huge influence on my aesthetic. I have spent much of my life looking for the ‘Land of Lost Content’ and only occasionally glimpsed it…somewhere in…???
My recently published work includes essays on Ivor Gurney’s song ‘On Wenlock Edge’ for the Gurney Society Journal, The Music of Marion Scott and a study of Janet Hamilton’s songs for the British Music Society Journal, and the composer Muriel Herbert for the Housman Society.
I have contributed to the journals of the Ralph Vaughan Williams Society, the Finzi Society, and the Bliss Society, the Berkeley Society, the BMS Newsletter and regular CD reviews for MusicWeb International.